XX CIM – Colloquio di Informatica Musicale
Rome, Conservatorio di Musica “Santa Cecilia”
October 20–22, 2014
AIMI – Associazione di Informatica Musicale Italiana
Conservatorio di Musica “S.Cecilia” Roma
Dipartimento di Nuove Tecnologie e Linguaggi Musicali
In collaboration with:
Sapienza Università di Roma
Università di Roma Tor Vergata
Faculty of Engineering
Università di Padova
Information Engineering Department
Audio Engineering Society Italy
Centro Ricerche Musicali
Fondazione Isabella Scelsi
The Associazione di Informatica Musicale Italiana (Italian Computer Music Association) – AIMI, founded in 1981, is a point of reference in Italy for musicians and researchers investigating the relationships between music, science and technology. AIMI, which counts among its associated musicians and researchers of international relevance, organizes every two years the so called CIM – Colloquium on Computer Music, which represent the most relevant appointment for the scientific and musical debate and within the Italian community of music informatics.
The twentieth edition of the Colloquio di Informatica Musicale is organized within the context of the 7th edition of EMUfest, “International Electroacoustic Music Festival”.
The Colloquio di Informatica Musicale reaches in 2014 its twentieth edition. This landmark strongly suggests a critical look at our past and a reflection over the far-reaching changes which are currently taken place in our societies. The end of the industrial society, the beginning of the information era so precisely described by Manuel Castells, the new phase of modernity characterized by Zygmunt Bauman with the adjective “liquid” (in contrast with the “solid” one, so tangible and systemic), cannot leave music creation indifferent; and even more so when creation that is so strongly connected to technology and instrumental innovation: in fact, it it precisely this creation that has made fundamental contributions to the transition to the information society. Thus, computer music (now sound and music computing) is one of the leading actors in this context, and this twentieth colloquium intends to be a moment of reflection of the changes currently in progress.
The CIM programme includes scientific and artistic communications, tutorials activities and artistic productions. The scientific and artistic communications will be selected through a Call for papers, and the musical and artistic works through a Call for scores/works. All the submission will be evaluated by a Scientific and a Musical Committee, respectively.
Call for papers
Participants are invited to present and discuss the results of their artistic and/or scientific research as an oral communication or a poster.
Furthermore, students and Ph.D. students in Music and Technologies programs are encouraged to present their research projects as work in progress, even if not yet concluded: in this case we do not expect the presentation and discussion of results. This kind of works will be presented as poster and/or demo.
Participants must send their contribution within June 23rd, 2014 at 11:59 PM CEST, as a paper (please use the attached templates below) 6 pages long for an oral presentation, or 1-2 pages long for a poster. Languages employed can be Italian or English.
Call for scores/works
The present CIM edition includes three calls for:
1. instrumental scores and electronics
2. interactive performances
3. video-musical and electroacoustic compositions
1. The available instruments for the first call are
- two violins
- flute (in C and/or in G)
- clarinet (B flat cl. and Bs.cl.)
- french horn
- bassoon and/or contrabassoon
- 5 sax (soprano, alto, tenor, baritone and bass)
- two percussion players
- guitar (classic and/or electric)
Any combination of the above ensemble is allowed, ranging from solo instrument + electronics up to the entire ensemble.
Other instruments are welcome, even in larger ensembles, if and only if entirely provided by the authors.
2. The second call includes works for one or more performers which may employ any kind of New Interface for Musical Expression (NIME). The instrument/s and performers should be supplied by the author/s in their entirety.
3. Formats for the submission of video-musical compositions: videos in any resolution in either .m4v or .mp4 formats.
Formats for the concert of video-musical compositions:
- Video HD 1080p in .mov format
Formats for the submission of electroacoustic compositions: stereo, 44.1 kHz, 16 o 24 bit.
Formats for the concert of electroacoustic compositions: from 1 to 8 interleaved channels, 44.1 kHz, 16 or 24 bit.
Participants must send their contribution within June 23rd, 2014 at 11:59 PM CEST, with a description of the work in the format previewed by CIM (see below for templates). Languages can be Italian or English. In addition, a manuscript and scanned (or printed) score in pdf format (call 1), an audio-video documentation of the performance (call 2), a complete work in an audio or audio-video file (call 3) are respectively required.
The submission process will use the conference management system EasyChair (http://www.easychair.org/). The web site for the XX CIM is:
Papers, musical work descriptions and musical scores will have to be uploaded in pdf format. Instructions on how to submit the multimedia attachments will be provided to authors upon submission of the work presentation into the EasyChair system. Whenever necessary and appropriate, the scientific committee will have the right to ask to convert oral presentations in poster presentations during the review process.
Particular attention will be given to works concerning the themes of the symposium. However, any other work related to music, science and technology and in particular to the following topics is welcome:
- perception and cognition of sound and music
- computer environments for sound/music processing
- live coding
- distributed musical performance
- interaction and improvisation
- new interfaces for musical expression
- mobile music computing
- physical computing
- applied electroacoustic
- 3D sound/music
- digital audio effects
- sound/music signal processing algorithms
- automatic separation, recognition, classification of sound and music
- music information retrieval
- artificial intelligence and music
- music performance analysis and rendering
- automatic music generation/accompaniment systems
- computational systems for musical education
- history and aesthetics of electroacoustic music
- humanities and sound and music computing
- computational tools for systematic musicology
Submissions: june 23, 2014.
Review notifications to authors: august 25, 2014.
Final version of papers for camera-ready publication in the Proceedings: september 15 2014
XX Colloquio di Informatica Musicale october 20-22 2014
For both the submission and the final version of the papers to be published in the online proceedings, the authors are required to employ the attached templates (latex or MS Word).
- A maximum number of 6 pages for oral presentations and 2 for posters.
- Only the pdf file must be submitted by means of the EasyChair system.
- Allowed languages are Italian and English.
Michelangelo Lupone, Nicola Bernardini
Scientific program chair:
Music program chairs:
Stefano Bassanese, Laura Bianchini
Paolo Gatti, Luana Lunetta, Massimo Massimi, Giuseppe Silvi, Anna Terzaroli
Federico Avanzini, University of Padova
Stefano Baldan, IUAV University of Venice
Stefano Bassanese, Conservatorio di Torino
Nicola Bernardini, Conservatorio S.Cecilia Roma
Laura Bianchini, Centro Ricerche Musicali Roma
Roberto Bresin, KTH Royal Institute of Technology
Sergio Canazza, Università di Padova
Luigi Ceccarelli, Conservatorio di Perugia
Giovanni Cospito, Conservatorio G.Verdi Milano
Giovanni Costantini, Università di Roma Tor Vergata
Riccardo Dapelo, Conservatorio di Genova
Maria Cristina De Amicis, Conservatorio di Sassari
Amalia de Gotzen, Aalborg University in Copenhagen
Giovanni De Poli, Università di Padova
Stefano Delle Monache, IUAV University of Venice
Agostino Di Scipio, Conservatorio Alfredo Casella l’Aquila
Roberto Doati, Conservatorio di Genova
Carlo Drioli, Università di Udine
Federico Fontana, Università di Udine
Francesco Galante, Conservatorio di Cosenza
Michele Geronazzo, Università di Padova
Daniele Ghisi, HES-SO Genève – Conservatorio di Torino
Marco Giordano, Conservatorio Alfredo Casella l’Aquila
Giorgio Klauer, Conservatory of Padova
Silvia Lanzalone, Conservatorio di Salerno
Enrico Marchetto, Institut de Recherce et Creation Acoustique/Musique
Davide Andrea Mauro, IUAV University of Venice
Giorgio Nottoli, Università di Roma Tor Vergata
Paolo Pachini, Conservatory of Music G. Tartini
Stefano Papetti, Zürcher Hochschule der Künste
Alessandra Carlotta Pellegrini, Fondazione Isabella Scelsi Roma
Davide Rocchesso, IUAV University of Venice
Antonio Rodà, Università di Padova
Sylviane Sapir, Conservatorio di Como
Franco Sbacco, Conservatorio S.Cecilia Roma
Federico Scalas, Conservatorio S.Cecilia Roma
Domenico Sciajno, Conservatorio di Torino
Stefania Serafin, Aalborg University in Copenhagen
Simone Spagnol, Università di Padova
Gianni Trovalusci, Federazione CEMAT Roma
Aurelio Uncini, Sapienza Università di Roma
Andrea Valle, CIRMA – Università di Torino
Alvise Vidolin, Centro di Sonologia Computazionale – Università di Padova
Gualtiero Volpe, InfoMus-DIST-University of Genoa
Laura Zattra, Università di Padova
CFP – Interactive Music Notation and Representation Workshop
Workshop website: http://tiny.cc/7e8hex
Submission Deadline: May 16, 2014 (No extensions possible!)
Notification: May 30, 2014
Workshop date: June 30, 2014
Call for participation
Computer music tools for music notation have long been restricted to conventional approaches and dominated by a few systems, mainly oriented towards music engraving. During the last decade and driven by artistic and technological evolutions, new tools and new forms of music representation have emerged. The recent advent of systems like Bach, MaxScore or INScore (to cite just a few), clearly indicates that computer music notation tools have become mature enough to diverge from traditional approaches and to explore new domains and usages such as interactive and live notation.
The aim of the workshop is to gather artists, researchers and application developers, to compare the views and the needs inspired by contemporary practices, with a specific focus on interactive and live music, including representational forms emerging from live coding. Special consideration will be given to new instrumental forms emerging from the NIME community.
The workshop will be held in two parts:
- Overview of the notation history, tools, uses and problematics: Building a map of the different approaches, in interaction with invited participants and with the audience will be the main focus of this part. Online tools for mind mapping will be made available to allow remote participation.
- Practices and applications: This second part is intended to take advantage of the NIME context to involve, discover and question the notation issues related to new instruments, including also live coding perspectives. For this part, we are interested in artistic experiences as well as in technical approaches. Demonstrations will be welcome, whether based on tools or new instruments, including electronics.
You are invited to participate to this session about music notation, which will consist of both informal discussions and short presentations / demonstrations. If you would like to propose a presentation or a demonstration, send a one page abstract before May 16 to <firstname.lastname@example.org>. A 20 minute time slot will be allocated to each accepted proposal. Look at http://tiny.cc/u27hex for a proposal template.
All the ressources and contributions to the workshop will be published on the music notation web site http://notation.afim-asso.org .
- Dominique Fober – Grame – Lyon
- Jean Bresson – Ircam – Paris
- Pierre Couprie – IReMus, Université Paris-Sorbonne – Paris
- Yann Geslin – INA/GRM – Paris
- Richard Hoadley – Anglia Ruskin University – Cambridge
4-13th of April
23:00 to 02:00
Without Waiting For Her Reply continues Apichaya Wanthiang’s investigation into the themes of memory, experience, and the spatiotemporal conditions that define them. During a nocturnal exhibition, the visitor is guided through, and immersed in a narrative landscape, where isolated individuals relate to each other in a newly established continuum.
I samarbeid med Kulturbyrået Mesén / Rom for Kunst, presenterer Oslo Screen Festival filmen Evighetens Avkom av Anders Elsrud Hultgreen på Oslo S i april (videoskjermen ved rulletrappen ved taxiholdeplassen – inngang nord).
EVIGHETENS AVKOM (2013) er en skildring av to parallelle landskap – En skikkelses rundgang gjennom et landskap hinsides naturen: I et landskap liggende parallellt med det synlige.
Anders Elsrud Hultgreen er en filmskaper (f. 1986) som vokste opp på Ringerike. Han har studert ved Kunst- og Designhøgskolen i Bergen, The Rogue Film School, Emily Carr University of Art & Design og Nordland Kunst- og Filmfagskole.
Hans film Den Pyramidale Taushet (2012) fikk en hederlig omtale på Oslo Screen Festival 2014.
Evighetens avkom er et bestillingsverk fra BEK. Den blir også vist i Bergen på THE MA-DEGREE SHOW @ Bergen Kunsthall med åpning fredag 11. april.
Exhibition at Vaskerelven 8
3. – 13. April 2014
Opening on Thursday, 3. April, 5 -7 pm
The involved artists met through the artistic research project Topographies of the Obsolete. Elements of the dialogue on Work Study are transferred from a former ceramic factory in England to the laboratory like situation of ROM8 in Bergen. Recording systems and notations from working processes formed the starting point for examining and acting out the absurdity of lost production and working community on site. The artists were dialogue partners in several periods throughout 2013 in Stoke-on-Trent, and bring together elements which individually have developed since for a continuing discours.
Work Study (Exercises in Creating a Short Circuit) – part 2
Sofie Knudsen Jansson
Weekdays 2 – 6 pm
Thursday 5 – 8 pm
Week ends 12 – 4 pm
Supported by KHIB and BEK